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From 2016 to 2021, Laurent Achard directed four portraits of filmmakers: Vecchiali, Brisseau, Stévenin, and Mazuy. The fifth (Carax), begun in 2023 at the Villa Medici, remained unfinished. He nicknamed it “The Chairs.” “When we consider how familiar death is, and how complete our ignorance is, and that there has never beenany escape, we must admit that the secret is well kept!” (Jankelevitch)
Laurent is seeking a path in life after living his childhood and teenage years in laziness. He has a conflictual relationship with Rodolphe, his father, and both are too emotional to express their mutual affection. Despite the women of his life hanging around him , Rodolphe has but one obsession: meeting Marguerite again, the first love of his life.
A theater actress leaves her show to retire with her sick son to her childhood city.
A bisexual married man meets a gay man whilst bathing in a small deserted creek and they fall in love even though the gay man has AIDS... He describes this sudden passion in simple words. Paul Vecchiali contribution to omnibus film 'L'@mour est à réinventer'.
Laurent Achard set up his camera on the set of Paul Vecchiali’s film Le Cancre to capture the director’s creative power. Although Vecchiali’s precision is impressive, Achard also shows moments where his collaborators’ input is essential. Under the director’s eye, the stars are becoming actors again, and Achard revives the heritage of Vecchiali’s '70s and '80s production studio Diagonale.
Different aspects of homosexual romance are explored in this compendium of ten short vignettes encompassing a broad look at AIDS and range for the tale of a lesbian teen trying to come out to her parents, to a gay man who shocks his lover by claiming to be pregnant, to another man's reminiscence of a brief affair with an HIV-positive man.
Paul a Mayerling, un ritratto is a personal and choral account of a life inextricably linked to cinema. In the mid-2000s, chance led me to meet Paul Vecchiali online. From that moment on, a relationship was born, marked by lively discussions about cinema and life.
A man walks every night along the jetty. There he meets a young woman who is waiting for the man of her life. Over four nights, they discuss life and he gradually falls in love with her.
Odile suspects her husband, Jean, is cheating. Thus she decides to give him a taste of his own medicine. Fate gets her in touch with an actor, Daniel, who she will use for her revenge. The actor, living with a former serviceman, Albert, will make love with her. But there will be unexpected consequences: Odile and Daniel will be bound forever by an irrepressible love.
The new Saint Denis-Bobigny streetcar picks up and drops off commuters in an all-too-brief transit of their lives. Among the regular riders is a woman who is both spectator and guide – she introduces, comments on, ponders and catalyzes the sometimes vain, sometimes serious preoccupations of her fellow travelers, who, for the moment, are rushing headlong toward their destiny. The commuters and their observer have double lives. Once they step off this streetcar, the real-life dramas begin. Each has his or her style of living or dying…
A young man (hypothesis 1) and a young woman (hypothesis 2) refuse any dinner or other invitations so as to give themselves over to an evening ritual.
A young woman has managed to convince a doctor friend to deliver her from an accidental pregnancy without following official procedures. On the night of her operation, she meets a young man who happens to be an apprentice waste sorter at the hospital.
